"Then you _must_; that's all. But that's a small thing. What I really wonder at is that, with all your experience, you are not more of a stylist."

"Stylist?"

"Yes. I don't believe there's an epigram in your book from beginning to end. That's the reason the critics don't quote any brilliant sentences from it, and the publishers can't advertise it properly. It makes me mad to find the girls repeating other authors' sayings, and I never catch a word from a book of yours, though you've been writing more than a century."

"Not quite so long, my dear, I think; though very, very long. But just what do you mean by style?"

"Well, you ought to say even the simplest things in a distinguished way; and here, all through, I find you saying the most distinguished things in the simplest way. But I won't worry you about things that are not vital. I'll allow, for the sake of argument, that you can't have virility if you remember that you are a gentleman even when you are writing fiction. But you _can_ have _pa.s.sion_. Why don't you?"

"Don't I? I thought--"

"Not a speck of it--not a single speck! It's rather a delicate point, and I don't exactly know how to put it, but, if you want me to be frank, I must." She looked at her great-uncle, and he nodded encouragement. "I don't believe there's a single place where he crushes her to his heart, or presses his lips to hers in a long kiss. He kisses her cheek once, but I don't call that anything. Why, in lots of the books, nowadays, the girls themselves cling to the men in a close embrace, or put their mouths tenderly to theirs--Well, of course, it sounds rather disgusting, but in your own earlier books, I'm sure there's more of it--of pa.s.sion.

Isn't there? Think!"

The Veteran Novelist tried to think. "To tell you the truth, my dear, I can't remember. I hope there was, and there always will be, love, and true love, in my novels--the kind that sometimes ends in happy marriage, but is always rather shy of showing itself off to the reader in caresses of any kind. I think pa.s.sion can be intimated, and is better so than brutally stated. If you have a lot of hugging and kissing--"

"Uncle!"

"--How are your lovers different from those poor things in the Park that make you ashamed as you pa.s.s them?"

"The police ought to put a stop to it. They are perfectly disgraceful!"

"And they ought to put a stop to it in the novels. It's not only indecent, but it's highly insanitary. Nice people don't want you to kiss their children, nowadays, and yet they expect us novelists to supply them with pa.s.sion of the most demonstrative sort in our fiction. Among the j.a.panese, who are now one of the great world-powers, kissing is quite unknown in real life. I don't know the j.a.panese fiction very well, but I doubt whether there's a single kiss, or double, in it. I believe that a novel full of intense pa.s.sion could be written without the help of one embrace from beginning to end."

"Uncle!" the girl vividly exclaimed, "why don't you _do_ it? It would be the greatest success! Just give them the wink, somehow, at the start--just hint that there was the greatest kind of pa.s.sion going on all the time and never once showing itself, and the girls would be raving about it. Why _don't_ you do it, uncle? You know I do so want you, for once, to write the most popular book of the month!"

"I want to do it myself, my dear. But as to my writing a book full of suppressed pa.s.sion, that's a story in itself."

"Tell it!" she entreated.

"The Easy Chair wouldn't give me room for it. But I'll tell you something else. When I was a boy I had a knack at versing, which came rather in antic.i.p.ation of the subjects to use it on. I exhausted Spring and Morning and Snow and Memory, and the whole range of mythological topics, and then I had my knack lying idle. I observed that there was one subject that the other poets found inexhaustible, but somehow I felt myself disqualified for treating it. How could I sing of Love when I had never been in love? For I didn't count those youthful affairs when I was only in the Third Reader and the first part of the Arithmetic. I went about trying to be in love, as a matter of business; but I couldn't manage it. Suddenly it managed itself; and then I found myself worse disqualified than ever. I didn't want to mention it; either to myself or to her, much less to the world at large. It seemed a little too personal."

"Oh, uncle! How funny you are!"

"Do you think so? I didn't think it much fun then, and I don't now. Once I didn't know what love was, and now I've forgotten!"

"No such thing, uncle! You write about it beautifully, even if you're not very virile or epigrammatic or pa.s.sionate. I won't let you say so."

"Well, then, my dear, if I haven't forgotten, I'm not interested. You see, I know so much more about it than my lovers do. I can't take their point of view any longer. To tell you the truth, I don't care a rap whether they get married or not. In that story there, that you've been reading, I got awfully tired of the girl. She was such a fool, and the fellow was a perfect donkey."

"But he was the dearest donkey in the world! I wanted to h--shake hands with him, and I wanted to kiss--yes, kiss!--_her_, she was such a lovable fool."

"You're very kind to say so, my dear, but you can't keep on making delightful idiots go down with the public. That was what I was thinking when you came in and found me looking so dismal. I had stopped in the middle of a most exciting scene because I had discovered that I was poking fun at my lovers."

"And here I," the girl lamented, "didn't take the slightest notice, but began on you with the harshest criticisms!"

"I didn't mind. I dare say it was for my good."

"I'm sure I meant it so, uncle. And what are you going to do about it?"

"Well, I must get a new point of view."

"Yes?"

"I must change my ground altogether. I can't pretend any longer to be the contemporary of my lovers, or to have the least sympathy with their hopes and fears. If I were to be perfectly honest with them, I should tell them, perhaps, that disappointed love was the best thing that could happen to either of them, but, if they insisted on happiness, that a good broken engagement promised more of it than anything else I could think of."

"That is true," the girl sighed. "There are a great many unhappy marriages. Of course, people would say it was _rather_ pessimistic, wouldn't they?"

"People will say anything. One mustn't mind them. But now I'll tell you what I've been thinking all the time we've been talking."

"Well? I knew you were not thinking of _my_ nonsense!"

"It was very good nonsense, as nonsense goes, my dear. What I've been thinking is that I must still have the love interest in my books, and have it the main interest, but I must treat it from the vantage-ground of age; it must be something I look back upon, and a little down upon."

"I see what you mean," the girl dissentingly a.s.sented.

"I must be in the whole secret--the secret, not merely of my lovers'

love, but the secret of love itself. I must know, and I must subtly intimate, that it doesn't really matter to anybody how their affair turns out; for in a few years, twenty or thirty years, it's a thousand to one that they won't care anything about it themselves. I must maintain the att.i.tude of the sage, dealing not unkindly but truthfully with the situation."

"It would be rather sad," the girl murmured. "But one likes sad things."

"When one is young, one does; when one is old, one likes true things.

But, of course, my love-stories would be only for those who have outlived love. I ought to be fair with my readers, and forewarn them that my story was not for the young, the hopeful, the happy."

The girl jumped to her feet and stood magnificent. "Uncle! It's grand!"

He rose, too. "What is?" he faltered.

"The idea! Don't you see? You can have the publisher announce it as a story for the disillusioned, the wretched, and the despairing, and that would make every girl want it, for that's what every girl thinks she is, and they would talk to the men about it, and then _they_ would want it, and it would be the book of the month! Don't say another word. Oh, you dear!" In spite of the insanitary nature of the action, she caught her uncle round the neck, and kissed him on his bald spot, and ran out of the room. She opened the door to call back: "Don't lose a single minute.

Begin it _now_!"

But the Veteran Novelist sank again into his chair in the posture in which she had surprised him.

XIX

A SEARCH FOR CELEBRITY

We lately received a publication which has interested us somewhat out of proportion to its size. It is called _The Way into Print_, but it does not treat, as the reader might rashly suppose, of the best method of getting your name into the newspapers, either as a lady who is giving a dinner to thirteen otherwise unknown persons, or is making a coming-out tea for her debutante daughter, or had a box full of expensively confectioned friends at the opera or the vaudeville, or is going to read a paper at a woman's club, or is in any sort figuring in the thousand and one modern phases of publicity; it does not even advise her guests or hearers how to appear among those present, or those who were invited and did not come, or those who would not have come if they had been invited. Its scope is far more restricted, yet its plane is infinitely higher, its reach incomparably further. The Print which it proposes to lead the Way into is that print where the elect, who were once few and are now many, are making the corridors of time resound to their footsteps, as poets, essayists, humorists, or other literary forms of immortality. Their procession, which from the point of the impartial spectator has been looking more and more like a cake-walk in these later years, is so increasingly the attraction of young-eyed ambition that nothing interests a very large cla.s.s of people more than advice for the means of joining it, and it is this advice which the publication in point supplies: supplies, we must say, with as much good sense and good feeling as is consistent with an office which does not seem so dignified as we could wish.

Inevitably the adviser must now and then stoop to the folly of the aspirant, inevitably he must use that folly from time to time with wholesome severity, but he does not feel himself equal to the work unaided. Our sudden national expansion, through the irresistible force of our imaginative work, into an intellectual world-power has thrust a responsibility upon the veterans of a simpler time which they may not shirk, and the author of _The Way into Print_ calls upon them to share his task. He is not satisfied with the interesting chapters contributed by younger authors who are in the act of winning their spurs, but he appeals to those established in the public recognition to do their part in aiding us to hold our conquest through the instruction and discipline of those who must take their places when they put their armor off. He does this by means of a letter, almost an open letter, addressed personally to each veteran by means of the subst.i.tution of his typewritten name for that of some other veteran, but not differenced in the terms of the ensuing appeal to his kindness or his conscience. He puts himself upon a broad humanitarian ground, and asks that the typewritten author, who, he a.s.sumes, is "prominently before the public,"

shall answer certain questions to which the appellant owns that he has already received hundreds of replies.

By an odd mischance one of his half-open letters found its way to the Easy Chair, and, although that judgment-seat felt relieved from the sense of anything like a lonely prominence before the public by the very mult.i.tude of those similarly consulted, it did not remain as Easy as it would have liked under the erring attribution of prominence. Yet to have refused to help in so good a work would not have been in its nature, and it lost as little time as possible in summoning a real author of prominence to consider the problems so baffling to a mere editorial effigy; for, as we ought to explain, the _de facto_ editor is to be found in the Study next door, and never in the Easy Chair. The author prominently before the public came at once, for that kind of author has very little to do, and is only too happy to respond to calls like that of the friend of rising authorship. Most of his time is spent at symposiums, imagined by the Sunday editions of the newspapers, to consider, decide the question whether fig-paste is truly a health-food; or whether, in view of a recent colossal gift for educational purposes, the product of the Standard Oil Company was the midnight oil which Shakespeare had in mind when he spoke of the scholar wasting it; or something of that kind. His mind is whetted to the sharpest edge by its employment with these problems, and is in prime condition for such simple practical inquiries as those proposed by the letter we had received. But, of course, he put on an air of great hurry, and spoke of the different poems, novels, essays, and sketches which he had laid aside to oblige us, and begged us to get down to business at once.

"We wish nothing better than to do so," we said, to humor him, "for we know you are a very busy man, and we will not keep you a moment longer than is absolutely necessary. Would you like to have all the questions at once, or would you rather study them one after another?"